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Four Irish Dances

Introduction

It was during Grainger’s London years that he came into contact with many artists, composers and musicians who were all to play some part in formulating his career as pianist and furthering his subsequent recognition as a composer. His numerous appearances in ‘at homes’ quickly established him in London society, and it was at such a gathering that he met the Irish composer Sir Charles Villiers Stanford (1852–1924), who later hosted at least four similar functions at which Grainger performed. From 1904 onwards their friendship grew apace and they were to work closely with each other until Grainger’s departure for America in 1914. The Four Irish Dances had been transcribed from Stanford’s orchestral versions, Op 79, during the early years of their professional association, and Grainger would often include them in his solo recitals along with Stanford’s own Three Rhapsodies Op 92, written specially for him in the summer of 1904. The music of these dances is based on traditional Irish folk tunes which Stanford selected from his own edition of The Complete Petrie Collection of Ancient Irish Music. The first dance, A March-Jig (Maguire’s Kick) is based on two melodies, the main tune, ‘Maguire’s Kick’, being combined with a jig from County Leitrim. Irish rebels had used the primary tune as a marching air in 1798. The entire thematic material for A Slow Dance is taken from a long and varied tune named ‘Madame Cole’, described as ‘one of Carolan’s finest airs’. It was composed by the blind Irish harper Turlough O’Carolan (1670–1738) for the marriage in 1719 of John Cole of Florence Court, County Fermanagh, to Jane Saunderson of County Cavanagh. Grainger points out that this tune is more redolent of the art music of the seventeenth century than of the Irish countryside. In some parts of Ireland, country folk still believe in the existence of leprechauns, tiny fairies who wear tall hats and knee-breeches. The Leprechaun’s Dance is a delicate movement consisting of two tunes in 9/8 time, a ‘Jig’ and a ‘Hop Jig’. The final number of the set, A Reel, opens and closes with a section based on a rollicking Cork reel engagingly titled ‘Take her out and air her’. This is contrasted with a graceful middle episode built around the winsome melody ‘The cutting of the hay’.

Recordings

As the fiftieth anniversary year of Grainger's death draws to a close, here is another chance to sample the composer's miraculous piano transcriptions in dazzling performances by compatriot Piers Lane. Everything from Stanford's folksy Irish Dance ...» More

'Hamelin's pleasure in this repertoire—challenging to the pianist, delightful to the listener—is manifest in every bar' (BBC Music Magazine)'The wizardry of Grainger's invention is never out of step with Hamelin's fingers—all 20 (or so it seems) of them. Try and keep your lower jaw in pla ...» More

Details

The dance, A March-Jig, is based on two melodies of which the main tune, Maguires Kick, is combined with a jig tune from County Leitrim. The former tune had been used as a marching-air by Irish rebels in 1798.

The final number of the set, A Reel, opens and closes with a section based on a rollicking Cork reel engagingly entitled Take her out and air her. This is contrasted with a graceful middle episode built around a winsome melody named The cutting of the hay.